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Earlier this year, the author and essayist Ayelet Waldman wrote an essay for The New Yorker about taking up a new hobby. Trying to cope with intensely stressful news, Waldman dived head first into teaching herself how to quilt. “I would get up in the morning, I would go to the sewing machine. I would quilt all day and then I’d go to sleep. It wasn’t like I was checking out; I was still very much involved and invested in what was going on,” she told the producer Jeffrey Masters. “But somehow I could tolerate it while I was using my hands, and I decided I want to know how and why.” Waldman talked with neuroscientists about the reason that certain brain activities seem to relax us. And to her surprise, it wasn’t hard to find hours each day, in the life of a busy writer, to pursue a new vocation. “Honestly,” she admits, “I was literally spending that time on the Internet.”

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“The Thanksgiving Play” is a play about the making of a play. Four performers struggle to devise a Thanksgiving performance that’s respectful of Native peoples, historically accurate (while not too grim for white audiences), and also inclusive to the actors themselves. A train wreck ensues. “First it’s fun. . . . You get to have a good time in the theatre. I would say that’s the sugar, and then there’s the medicine,” the playwright Larissa FastHorse tells the staff writer Vinson Cunningham. “The satire is the medicine, and you have to keep taking it.” FastHorse was born into the Sicangu Lakota Nation, and was adopted as a child into a white family. She is the first Native American woman to have a play produced on Broadway. “When I was younger, it was very painful to be separated from a lot of things that I felt like I couldn’t partake in because I wasn’t raised on the reservation or had been away from my Lakota family so long,” she says. “But now I really recognize it as my superpower that I can take Lakota culture . . . and contemporary Indigenous experiences and translate them for white audiences, which unfortunately are still the majority of audiences in American theatre.”

This segment originally aired on April 14, 2023.

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Since the founding of the nation, only a hundred and sixteen people have served as Supreme Court Justices; the latest of them is Justice Ketanji Brown Jackson, who was appointed by President Joe Biden, in 2022. Jackson joined a Court with six conservative Justices setting a new era of jurisprudence. She took her seat just days after the Dobbs decision, when Justice Samuel Alito’s majority opinion overturned Roe v. Wade. Jackson wrote a blistering dissent to the Court’s decision that ended affirmative action in college admissions, in which she accused the majority of a “let-them-eat-cake obliviousness” to the reality of race in America. She also dissented in the landmark Presidential-immunity case. Immunity might “incentivize an office holder to push the envelope, with respect to the exercise of their authority,” she tells David Remnick. “It was certainly a concern, and one that I did not perceive the Constitution to permit.” They also discussed the widely reported ethics questions surrounding the Court, and whether the code of ethics it adopted ought to have some method of enforcement. But Jackson stresses that whatever the public perception, the nine Justices maintain traditions of collegiality (no legal talk at lunch) and that she sometimes writes majority opinions as well as vigorous dissents. Jackson’s recent memoir is titled “Lovely One,” about her family, youth, and how she got to the highest position in American law.

New episodes of The New Yorker Radio Hour drop every Tuesday and Friday. Follow the show wherever you get your podcasts.

The New Yorker Radio Hour is a co-production of WNYC Studios and The New Yorker.

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